Augustus Koopman: Painter of Emotions

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'GOING
TO
THE
BOATS"

By
Augustus
Koopman

Now at
Carnegie
Institute,
Pittsburg

Owned by

M. Knoedler

&Co.

Augustus Koopman — Painter of Emotions

By JAMES WILLIAM PATTISON

thy with his nature, as he sees it, becomes
most interesting of all. Koopman has
marked individuality seen in his large man-

IF we are to experience pleasurable sen-
sations by looking at pictures, there are
certain things to be considered; the ex-
act truthfulness of paint-
ing, with wonderful sugges-
tions of texture and form,
but, above all the emotions
awakened by colors put in
for their own sake; realism
in other words. But the ex-
citement growing out of
movement or the soothing ef-
fects of tranquility are still
more important and difficult
to paint. Few and simple
lines and forms, or a multi-
tude of incidents, have each
an emotional effect. The per-
sonality of the painter as re- QN THE R0CKS AFTER THE storm

vealed in the evident sympa- By Augustus Koopman — Collection Isaac Delgado Museum of Art

356 AUGUSTUS KOOPMAN—PAINTER OF EMOTIONS

THE CRYSTAL GAZERS
By Augustus Koopman

B Y J A M E S IV ILLIAM P ATT I SO N

357

ner of laying paint, which has its effect on
his drawing, but especially on his color.
All, or nearly all, his pictures are of the
sea when it is waked up, the waters to be
reckoned with seriously ; not always in
storm but showing that mighty unrest
which follows storm, that ponderous heav-
ing which tells of its weight and force when
once disturbed. I can recall no other man
who has so well seen and painted the moods
of heaving sea, gusty weather, rising wind
or lively commotion. Because of these
studies he excites our emotions but, more
than that, he has colors which distinctly
awaken our admiration and move our
feelings.

There are many artists who have drawn
individual waves superbly, as Waugh,
whose waves plunge on the rocks with
exact movement, but any wave thus drawn
may awaken our admiration but does not
excite emotion, beside being as hard as
glass and very much like it in texture.
Koopman's waves are not entirely individ-

THE WINDY DAY (ELLEN)
By Augustus Koopman

THE OLD TROUBADOUR
By Augustus Koopman

— Collection Philadelphia Art Club

ual, but the feeling of turbulent water is
wonderfully expressed and is emotional ; so
much so that the whole harbor shore line,
sky, rocks, sands and people all seem moved
by the same impulse, each sharing the ex-
citement of the other. Koopman's color
and brushing, wonderfully supplement the
story of sea happenings. The dashing of
the sea is expressed by the dashing of paint
and, as all the picture is movemented, the
brushing is in keeping with it, not carefully
drawn waves, but widely disturbed water
and the sky and land and people in sym-
pathy with them.

In 'The Pushing Off the Boat," owned
by The Brooklyn Institute of Art, we are

358

AUGUSTUS KOOPM AN— PAINTER OF EMOTIONS

PUSHING OFF THE BOAT —Collection Brooklyn Institute of Art
By Augustus Koopman

standing on the edge of a small cove, where
there is but slight protection by low head
lands, so that the sea has full access and is
therefore violent. A heavy fishing boat just
pushed off from the shore is tossed in the
surf, while the crew exert all their strength
to keep from being thrown back again. The
men are straining at the push poles, while
their wives stand at the water's edge, their
clothing wrung by the violent
wind. The boat will have bet-
ter weather as soon as coming
to deep water, and with a
sail on the mast ; but this is a
trying moment. The manner
of handling suggests the wild-
ness of the water, the sky and
the trying situation of the wo-
men. Over this excited scene
a mass of wild clouds reaches
over the headland, promising
dirty weather. The brushwork
is as rude as the sea and wind
and adds to the utter abandon
in the subject. This manner
of painting avoids the sharp-
ness and hardness of form
which are so materialistic ;

which have great truth but no
sentiment.

Akin to this picture we
have " Procession by the Sea,"
from the collection of Horace
Sears, Esq., of Weston, Mas-
sachusetts. Because of the
dark sky the slope of a shad-
owed sand dune appears rath-
er deep in tone which gives
brilliancy to the water. A
multitude of people in proces-
sion force their way down the
slope. In front of this crowd
marches a priest in his white
garment, struggling with the
violent wind, and close be-
hind strides a banner bearer,
his flag capering in the air
in a most ill-mannered way.
Beyond this darkened hillock the glistening
water of the disturbed sea makes vigorous
contrast, the more so as there comes a
ominous storm cloud over the headland
which promises to bring a violent rush of
rain. This cloud reveals its character in a
most suggestive way ; rising and flowing,
and is made with brush strokes in sym-
pathy with its wildness. Were it more

HORSES RUNNING TO MEET BOAT

By Augustus Koopman — Collection St. Paul Art Institute

BY J A M ES WILLIAM P ATT I SON

359

A DRAMATIC MOMENT
By Augustus Koopman

carefully done its life would be extinct.
The slash of the brush keeps before us the
ugliness of the sea-coast weather.

Koopman's color is brilliant. In this
grave picture is no glowing sunset, no dis-
play of heavenly pyro-
technics ; only a gray
day by the sea in bad
weather. But the gray
color is not that which
has been carefully mix-
ed on the palette before
application to the can-
vass, which is always
dull instead of full of
living color like this.
Catching up a mass of
paint as with a shovel, it
is laid right where it be-
longs and with it goes
touches of an opposite
color to enrich it. Now
to appreciate Koopman's
painting we must con-
sider for a moment the
technical side of it. HAULING UP THE B0AT

Many people Suggest to By Augustus Koopman

me that the public does
not care anything about
the ''how it is done," but
half the battle here, de-
pends upon the manner
of using the material.
So, here is the science
of the thing; supposing
that the heavy stroke of
paint might be white.
Now all colors are either
warm or cold. If the
white is cold the artist
can touch sundry pale
notes or warm color not
blending it with the
white but left distinct.
The eye will blend them.
If this pale spot is to be
on the light side of the
cloud of course its un-
derside must be touched into with a violet
or dull red just enough to have it look gray
at a little distance but still sprightly in tone.
Supposing the dark figure with the thrash-
ing banner might be wearing black clothes ;

360

AUGUSTUS KO OPM A X—P A I X T E R OF EM OTI O XS

THE DISASTER AT SEA
By Atigustus Koopman

on examination we find the black clothes
dotted over with warm notes to enliven it.
If the reader has followed this little state-
ment he will see that it suggests the method
of Claude Monet, the impressionist. Cer-
tainly it does, but with a serious difference.
Koopman does not work with spotting but
with variations, and the color of long brush
strokes, each one making drawing.

In looking at the picture, the story of
storm and strife is distinctly interesting,
but if we can add to this story an analysis
of his color the work becomes far more in-
teresting. The brilliancy of color of these
pictures is very striking, but when we add
the wild handling everything becomes much
more convincing. Also we have to con-
sider the strong contrasts of light and
shade and of colors. We do not mean to

state that these colors are like that in a wo-
man's dress, one part of which is green and
another part red, because the green and
red are so tickled into the grays that we
have brilliancy and richness but no crude-
ness.

Mr. Koopman draws spirited figures,
some of them on large canvasses and full
life-sized. His splendid presentation of
"Horses Running to Meet Boat." in the St.
Paul Art Institute, has never been outdone
for fine action. Although there are no de-
tails, the man and his mount swing into
subtle movement, carrying our attention
directly to the center of interest : to the ar-
riving boat. These fishing boats, built of
the heaviest timber are driven through the
surf until halted by contact with the wide
reaching flat sands. In the meantime these

BY JAMES WILLIAM PATTISON

361

horses are hitched to
the boat and the pon-
derous affair is drawn
up on dry land. The in-
cident is full of activity
and spirited movement,
and the dashing way in
which it is painted, or
sketched, is much more
agreeable than were it
done with minute care.
There is a breeziness
in the picture, "Going to
the Boats," which was
included in the Roman
Exposition of 191 1, not
alone in the atmospheric
conditions, but in the
spirit of the movements.
These figures are hurry-
ing to their work with
energy. They are large
figures and every detail of their fine faces
is faithfully rendered. We have here the
old story of an attractive young mother
carrying her chubby babe in a fish basket,
her older son proudly carrying the binnacle

HOISTING SAILS, SUNSET
By Augustas Koopman

THE ARRIVING BOAT
By Augustus Koopman

lamp, and vigorous men interested in
reaching their destination. Though not as
intense as some of the others, the work is
vivacious and moving to the spirits.

A portrait of Ellen, called "The Windy
Day," serves a double
purpose, giving a like-
ness of a pleasing girl,
and the wind tossing
about her clothing. All
Mr. Koopman's flesh
painting is excellent and
his facial expressions all
you could possibly de-
mand.

An effective arrange-
ment of lines and agree-
able colors are sufficient
for the making of a pic-
ture. No matter what
the subject matter may
be, it is simply necessary
that the lines and colors
be agreeable, whether
the forms are of clouds
or waves, or trees and

3 6 2 AUGUSTUS K OOP M A N—P A INTER O F EM OT I O N S

A WINDY DAY

By Augustus Koopman

meadows. Certainly, if we add to these
dramatic movements, the pictures will be
more striking. And we approach high art
when to these are added the study of some
mood of nature, some peculiar feeling of at-
mosphere. In the picture "On the Beach,"
what look to be bags of wind are driven
across the sky, the sea is whipped to white-
caps, and in sympathy with all this activity,
the crowd in lively movement echoes the
same sentiment. It is sometimes cold in
such a fresh wind, but we are reassured by
the presence of bathers, who seem to be
enjoying themselves this beautiful morning.
Contrasting with this picture comes a dra-
matic moment with a sufficiently lively sea,
not violent, but quite movemented enough
to cause anxiety, because the fishing boats
shorten sail just before touching the
shallows.

Here the artist stood on the height where
he could see a wide reach of water, and

has made us feel the height and distance.
The sense of spacious outdoors makes us
draw a long breath. Beside a stone cottage
near at hand a crowd has gathered to watch
the little group down on the beach waiting
to aid the landing. When this boat touches
the shallows she is hauled to dry land, and
we have then the picture called "Hauling
up the Boat," which is the sequel to the
previous scene. These fishing boats are
built so solid that beaching them in the surf
is quite safe and normal. The boats do not
draw much water, so that the crew can
jump overboard and bring a line ashore.
Then the entire company of villagers, old
and young, runs down to haul the rope, and
those who cannot find a place in the line
crowd against the side of the boat and push.
It is an exciting scene, all the crowd with
shoulders against the planking cheer and
strain. It may be that the village will be
rich enough to own horses to drag the craft

B Y J A M E S W ILL! A M P ATT I SO N

363

THE WINDSTORM
By Augustus Koopman.

ashore, but time and again in a small vil-
lage the inhabitants are too poor to own
horses and the people don't seem to mind
getting wet in order to do the pulling
themselves.

"The Wind Storm" and "A Windy Day"
continue this series of
shore effects. In one the
atmosphere is dark and
foreboding; in the other
gay and cheerful. In
the dark picture the wo-
men, rushing from their
cottages, seem to have
cause for anxiety and
brace themselves against
the storm, to discover
the difficulty. The con-
trast of these two pic-
tures reveals the charac-
ter of Koopman who is
keenly alive to the phe-
nomena of Nature and
his brushing of paint is
in sympathy with the
weather. "The Disaster 0N THE BEACH

at Sea" has the Same By Augustus Koopman

characteristics, cottages
bordering a harbor and
everything engulfed in a
raging sky with rain
and wind. The swirls
of the brush which sug-
gest the great rolling
mass in the sky express
much character. Nobody
carries an umbrella, as
none are owned in the
place. There is an aw-
ful threat in that sky
and the color suggests
ghastliness.

Beside these excited
moments we have some-
thing peaceful in the
"Return of the Shrimp-
ers/' quiet, happy peo-
ple going home from
toil. These trudge along carrying their
nets and they are in a jocose mood, slyly
passing an amusing word. The expression
of the faces is well found, as the figures
are life size, and even the odd twist in the
old man's mouth explains perfectly the

364

AUGUSTUS KOOP M AN— PAINTER OF EMOTIONS

amusement of this hard-featured son of
the sea. This contentment is a relief from
the anxious scenes already described. The
handling is free and spirited, but the ex-
pression has been carried to completeness.
The sunburned faces are rich in color, but
normal, the color working rather gray
against the ruddy sky of evening which
harmonizes with the soiled red jacket. At
the recent St. Louis World's Fair, the Com-
mittee of Awards bestowed upon it a medal
and, later, the picture was specially invited
to the Venice International, in 1910.

Another picture with large finished figures
is "The Crystal Gazers," A young woman
and a half -grown girl sit by a table study-
ing the mysteries in the heart of a huge,
white glass bottle; perhaps reading therein
their fortune; or, maybe, pleased by the
reflection of the sunlit window and the
sunny landscape. The picture is well man-
aged, a white dress and one of pale blue
being correctly placed against the brilliant
window. Of course the faces are complete
in detail and sufficiently finished, glowing
in color as well as fortunately lighted;
speaking well of the color genius of the
artist.

Contrasting with these much finished
works, is "Golden Moments," a young
mother and half -grown girl sitting on the
seashore rocks while a young brother digs
sand with his bare hands. Here again the
artist has luminous color and many varie-
ties of it. All of them are happy, and the
sheltered nook where they play protects
them from all rude winds. The handling
here unlike the last several pictures, is as
bold and rude as the windy sea. Of course .
this rude handling preserves the clearness
of the color and the glow of the picture.
There are more seaside pictures with peo-
ple attending their boats when the weather
is calm. There is great originality in the
compositions and in the coloring. It is
not enough to state that the colors are red
or blue or green, but the color is found
half-concealed in the rich tone.

"Hoisting Sail — Sunset" becomes rich
because of the sunset notes lingering in the
sky and on the sails, the principal canvas
being a dark red brown. The men are pull-
ing hard at the halyards and they are dark
against the brilliant light of the other sails
beyond. . Another picture, not unlike the
last, has an odd motive, but one many times
seen in European ports. We are beside a
high stone dock with stone steps, left vis-
ible by the receding of those mighty tides
along the shore. Of course this is oppor-
tunity for the use of rich color on the moss
grown stones, as well as the picturesque
forms. On top of this wall is a curious
crowd watching operations, and out in the
harbor sails of many colors catch the light.
Of course, you add to this the variegated
clothes worn by the multitude. The near
boat has a deep rich red sail, as the fashion
is to paint the canvas, may be for preserva-
tion, maybe for love of gaiety.

It is becoming more and more common
for painters to turn aside for the moment
to practice the fascinating art of etching.
Mr. Koopman exhibits a dozen or more
charming etchings. Any artist, who knows
his profession, may interest himself in
etching as he would in pen drawing or any
other sort of sketching, and the probability
is that he will quickly learn the technical
peculiarities of this special art.

Rarely do we meet an artist who unites
so many good qualities, who expresses in
one picture color, movement, weather and
human nature.

"We can guarantee that these pictures
are not commonplace and that each visitor,
according to his lights, would be given a
shock of emotion at sight of the revel in
rich pigments. However little you may
'love art' you still will find much to enter-
tain you from the very oddity of its tech-
nique. Many will yell and declare the man
has gone paint mad, but nevertheless, when
they leave that picture gallery, will in spite
of themselves bear away new lights on
painting, and will wonder why it is that

BY JAMES WILLIAM P ATT I SON

365

other admired pictures now seem flat and
humdrum after this riot of color."

These were on exhibition at Moulton &
Ricketts Galleries, but a part of them are
now hanging in The Art Institute, of Chi-
cago, and another part has gone to The
Hackley Art Gallery, Muskegon, Michigan.

Augustus Koopman was born in Char-
lotte, North Carolina, in 1869. He studied
at the Pennsylvania Academy of Fine Arts
in Philadelphia and Ecole des Beaux-Arts
in Paris. He is also a pupil of Bouguereau
and Robert-Fleury. Among the awards he
has received are the second Wanamaker
Prize, American Art Association of Paris,
1898; first Clark Prize, American Art As-
sociation of Paris, 1899; bronze medal and

special silver medal for decoration, Paris
Exposition, 1900; _bronze medals, Pan-
American Exposition, Buffalo, 1901, and
Universal Exposition, St. Louis, 1904; sil-
ver medal, Appalachian Exposition, 191 1.
Elected Associate Member Nationale Beaux
Arts, 1912.

Mr. Koopman is represented in the Lux-
embourg Gallery (Etchings), Paris; Isaac
Delgado Museum of Art, New Orleans;
City Art Museum, St. Louis; Museum of
Fine Arts, Detroit; Brooklyn Institute;
Philadelphia Art Club ; the print depart-
ments of the Congressional Library, and
the New York Public Library, and in many
foreign and American collections. He is a
member of numerous societies.

GOLDEN MOMENTS
By Augustus Koopman